《春琴抄》中的“钟摆式”唯美性

围绕《春琴抄》里唯美中的浪漫性及叛逆中的顺从性来集中阐释一个问题,即它的民族古典性之本。作品融合了西方唯美派的“现代”,并在春琴表面叛逆实则被现实所俘、佐助表面唯诺实则超脱地为自己营造了一个观念唯美的世界展示中,演绎出了一个以日本物哀审美为基础、以现代唯美为旗帜的文学范本。

The Pendulem Aestheticism of A Portrait of Shunkin

A Portrait of Shunkin is mostly regarded as the representive works of demonism,while this article focuses on the romantic in aesthetics and the abedience in rebel in it to express a problem that is the basement of national classicality.The works absorbs the modernity in aestheticism and shows a world where Shunkin rebels outside but captured by reality inside and Zuozhu obeys outside but creats a ideal world inside for himself to construct a literature model which bases on the aesthetic judgement of Japanese sadness on object and goes on in the direction of modern aesthetics.